Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art
Roy Lichtenstein, ‘Red Barn’, 1969, Graves International Art

An original signed screenprint by American artist Roy Lichtenstein (1923-1997) titled "Red Barn", 1969. Hand pencil signed by Lichtenstein lower left "rf Lichtenstein '69" and numbered lower right "78/250"; (Limited Edition of 250). Printed on C. M. Fabriano 100/100 Cotone paper. Paper bears the Fabriano watermark on right margin and publisher's blindstamp/chopmark lower right. Published by Gabriele Mazzotta Editore, Milan, Italy. Reference: M. L. Corlett, "The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1997, Corlett 89. Beautifully archivally framed with 30 coat Italian lacquer moulding. Framed size: 23.5" x 25.75". Sheet size: 19" x 26". Image size: 14.5" x 17". MINT condition.

Red Barn relates to two integral strands of importance in Lichtenstein's work -- high art and Pop Art. Red Barn presents both a vision of an American isolationist utopia and the quintessentially American rural idylls painted by conservative American landscape artists. Yet it is painted in the customary Lichtenstein reductive cartoon style that adds an inevitable sense of mockery characteristic of his work.

Signature: Hand pencil signed by Lichtenstein lower left "rf Lichtenstein '69"

Image rights: Copyright © Graves International Art

Publisher: Gabriele Mazzotta Editore

Reference: M. L. Corlett, "The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1997, Corlett 89

About Roy Lichtenstein

When American Pop artist Roy Lichtenstein painted Look Mickey in 1961, it set the tone for his career. This primary-color portrait of the cartoon mouse introduced Lichtenstein’s detached and deadpan style at a time when introspective Abstract Expressionism reigned. Mining material from advertisements, comics, and the everyday, Lichtenstein brought what was then a great taboo—commercial art—into the gallery. He stressed the artificiality of his images by painting them as though they’d come from a commercial press, with the flat, single-color Ben-Day dots of the newspaper meticulously rendered by hand using paint and stencils. Later in his career, Lichtenstein extended his source material to art history, including the work of Claude Monet and Pablo Picasso, and experimented with three-dimensional works. Lichtenstein’s use of appropriated imagery has influenced artists such as Richard Prince, Jeff Koons, and Raymond Pettibon.

American, 1923-1997, New York, New York, based in New York and Southampton, New York